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Period: 17th Century
The Card Game: An Early 17th Century Engraving by A. Voet after Cornelis de Vos
By Alexander Voet
Located in Alamo, CA
A 17th century engraving entitled "The Card Game" by old master artist Alexander de Voet after a painting by Cornelis de Vos, created in 1632. The pain...
Category
Old Masters 17th Century Interior Prints
Materials
Engraving
The Duchess of St. Albans: A 17th C. Portrait After a Kneller Painting
By (After) Sir Godfrey Kneller
Located in Alamo, CA
This is a 17th century engraved mezzotint portrait of the Duchess of St. Albans by John Smith, after a painting by Sir Godfrey Kneller. It was published in London by John Boydell in 1694.
The Duchess of St. Albans (1642-1712) was a woman named Diana de Vere. She was born in 1642, the daughter of Aubrey de Vere, the 20th Earl of Oxford. In 1662, she married Charles Beauclerk, the illegitimate son of King Charles II and his mistress, Nell Gwyn. As a result of her marriage, Diana became the Duchess of St. Albans, and she and Charles had several children together. Diana was known for her beauty and charm, and she was a prominent figure in the court of King Charles II. Despite her husband's illegitimate birth, Diana was highly respected in the royal court and was known for her intelligence and wit. She was a patron of the arts and supported many artists and writers of the time. Diana lived through a tumultuous period of English history, including the Great Fire of London and the Glorious Revolution, which saw King James II replaced by William of Orange. She died in 1712 at the age of 70 and was buried in Westminster Abbey. Descendants of Diana and her husband, who was an illegitimate son of King Charles II, include Diana, Princess of Wales and her son William, Duke of Cambridge.
An author wrote of her: "The line of Vere, so long renown’d in arms,
Concludes with luster in St. Albans’s charms;
Her conquering eyes have made their race complete,
It rose in valor, and in beauty set."
This striking mezzotint engraving depicts Diana, Duchess of St Albans in a three-quarter length pose, standing, wearing loose flowing dress and a wrap. She has a very serene, calm appearance as she is looking straight at the viewer. There is a landscape of trees in the background. The print is adhered in the corners to an archival backing, which is itself adhered in the upper corners to a larger backing. The print is trimmed to just beyond the plate mark. There are areas of discoloration in the margins and in the inscription area, but the print is otherwise in very good condition. The sheet measures 14.5" high and 10" wide. This mezzotint is held by multiple museums and institutions, including The British Museum, The National Portrait Gallery London, The Fine Arts Museum of Boston, The Lewis Walpole Library at Yale, The Yale Center for British Art, The Fitzwilliam Museum at Cambridge and The National Galleries of Scotland. The original Kneller painting is part of the British Royal Collection Trust and hangs in the King's Private Dining Room at Hampton Court Palace.
Sir Godfrey Kneller (1646-1723) was a leading portrait painter of his time, particularly renowned for his depictions of the British aristocracy and royalty. He was born in Lübeck, Germany, and trained in Amsterdam under the painter Ferdinand Bol...
Category
17th Century Interior Prints
Materials
Mezzotint
The Peasant Settling His Debt
Located in Middletown, NY
Etching on thin, cream laid paper 4 x 3 5/8 inches (100 x 90 mm), with narrow margins, trimmed inside the platemark. Adhesive residue at the top right and left corners, and archival ...
Category
Old Masters 17th Century Interior Prints
Materials
Etching
Farmers enjoying a barn dance with a violinist and a bagpiper.
Located in Middletown, NY
Etching on cream laid paper mounted to a cream laid paper support, 9 x 12 7/8 inches (230 x 327 mm), thread margins. Three small areas of light skinning with one extremely small hole...
Category
Old Masters 17th Century Interior Prints
Materials
Etching, Laid Paper
"Allegory of Justice": A 17th Century Old Master Engraving by van Swanenburg
By Willem van Swanenburg
Located in Alamo, CA
This old master engraving entitled "Allegorie op de Rechtspraak" is by Willem van Swaanenburg after a painting by Joachim Wtewael, published by Ch...
Category
Old Masters 17th Century Interior Prints
Materials
Engraving
Entablature II, from Entablature Series
Located in London, GB
Screenprint in colours with embossing and collage of gloss copper and mat pink metallic foil, 1976, on Rives BFK paper, signed and dated in pencil, numbered from edition of 30 (there...
Category
American Modern 17th Century Interior Prints
Materials
Screen
N. Lambert Seigneur de Thorigny: 17th C. Engraved Portrait After Largillière
Located in Alamo, CA
This is a 17th century engraving entitled "Messire Nicolas Lambert Seigneur de Thorigny, Conseiller du Roy" by Pierre Drevet after a painting by Noicolas de Largillière, published in Paris in 1698. This portrait depicts a three-quarter length view of Nicolas Lambert de Thorigny, who is dressed in elaborate robes and collar of a wealthy Parisian nobleman of the time. He is seated directed to the left and looking directly at the viewer. He is holding an inscribed note in his right hand. A magnificent billowing curtain is in the background. Lambert's coat of arms is shown in the center of the lower inscription area. In the inscription area is lettered with title, production detail: "Nic. Largilliere pinxit" and "Petr. Drevet sculpsit", and publication detail: "Se vend a Paris chez Drevet rüe du Foin au coin du College de Maître Gervais".
Nicolas Lambert, Seigneur de Thorigny (1600-1664), was a French nobleman and military commander who lived in the 17th century. He served in the French army during the Thirty Years' War, a conflict that took place from 1618 to 1648 and involved many European powers. Lambert fought in several battles during the war and rose to the rank of colonel. After the war, Lambert returned to France and became involved in politics. He served as a member of the Estates General, a legislative body that advised the king, and as a governor of several provinces. He was a counsellor and confidant of King Louis XIV. He had the title of Président de la Chambre des Comptes. He also became a member of the French Academy of Sciences, a prestigious institution that promotes scientific research and scholarship. Lambert was known for his military expertise, his intelligence, and his commitment to public service. He iInherited the Hôtel Lambert in Paris from his brother Jean Baptiste in 1644 and hired some of the most prominent artists of the time, including Charles Le Brun to decorate and furnish the building.
This beautiful old master engraving was created with impressive detailed technique. It is printed on laid, chain-linked paper. The sheet measures 18.5" high and 13.38" wide. The sheet is adhered to an archival backing paper at the top. There is a faint horizontal center fold and mild discoloration in the inscription area and in the upper margin on the right, with mild wrinkling here. The print is otherwise in very good condition, considering its age. This engraving is so rare, that no comparable prints could be identified for sale online. It is currently only listed in museum collections, including: The Metropolitan Museum of Art, The British Museum, The Louvre, The Riksmuseum, The Victoria & Albert Museum, The Fitzwilliam Museum at the U. of Cambridge, The Boston Museum of Fine Arts, Harvard Art Museums, The Finnish National Museum, The Philadelphia Museum. It is shown in the Metropolitan Museum's Cataloque of French paintings entitled: "French Paintings in The Metropolitan Museum of Art, published in 2018, page 36. The page is included in the photos.
Nicolas de Largillière (1656-1746) was a French portrait painter who achieved great success and acclaim during the late Baroque and Rococo periods. He was born in Paris and trained under the painter Antoine Goubeau. He studied in Antwerp and London before returning to France. While in England he was a favorite painter of King Charles II and King James II of England...
Category
17th Century Interior Prints
Materials
Engraving
The Heidelberg Tun: A Framed 17th Century Engraving of a Huge Wine Cask
Located in Alamo, CA
"The Heidelberg Tun" is a 17th century engraving by an unknown artist. It depicts a famous huge ornamental wine cask that resided in the wine cellar of Heidelberg Castle. The cask shown here, built in 1664, is the second of four Heidelberg Tuns; the first was destroyed during the Thirty Years' War, between 1618 and 1648. This cask was built in 1664 when Karl Ludwig ordered Heidelberg cellar master...
Category
Old Masters 17th Century Interior Prints
Materials
Engraving
Set of 6 French Louis XIV period chimney-piece design engravings by Jean Dolivar
Located in Melbourne, Victoria
'Luire de Cheminees a la Moderne nouvellement Invente et Grave par Jean Dolivar.'
Collection of 6 engravings with designs for chimney-pieces. Published in Paris, circa 1670.
210mm ...
Category
Baroque 17th Century Interior Prints
Materials
Engraving, Etching
Jan Oytenbogaert
Located in San Francisco, CA
This artwork titled Jan Uytenbogaert" 1639 is an etching on paper After Rembrandt Van Rijn, 1606-1669, plate engraved By French renown engraver Charles Armand Durand, 1831-1905. Sign...
Category
Realist 17th Century Interior Prints
Materials
Etching
Academie de l’Espee Tabula 2 prints Girarld Thibault Tab. XXXIII & Tab.IIII
Located in Paonia, CO
Two hand colored engravings from the Academie de l’Espee ( full title can be translated as Academy of the Sword: wherein is demonstrated by mathematical rules on the foundation of a mysterious circle the theory and practice of the true and heretofore unknown secrets of handling arms on foot and horseback ) by Girard Thibault...
Category
Other Art Style 17th Century Interior Prints
Materials
Engraving
Interior Meeting - Original Etching by Cornelis Meyssens - 17th Century
Located in Roma, IT
Interior Meeting is an original etching realized by Cornelis Meyssens ( 1640-1573).
Good conditions, except for some foldings.
Included a Passepartout: 34 x 49 cm
The artwork repres...
Category
Baroque 17th Century Interior Prints
Materials
Etching
In a tavern. Paper, engraving, 21x25 cm
Located in Riga, LV
In a tavern.
engraver Jan De Visscher (1933-1692)
Paper, engraving, 21x25 cm
Category
Realist 17th Century Interior Prints
Materials
Paper, Engraving
Van Ostade, Le Gourmet en compagnie, c.1664
Located in Torino, IT
ADRIAEN VAN OSTADE, Haarlem 1610 - 1684
Le Gourmet en compagnie, 1664 c.a
Original etching and drypoint, signed in plate at lower left.
Bibliography: Godefroy 50 VII/XII. (mm. 219x2...
Category
Old Masters 17th Century Interior Prints
Materials
Etching
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By Peter Milton
Located in New York, NY
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“I do love to draw. I feel that I am being granted membership in the Brotherhood of Merlin, conjuring forth some apparition. As a drawing develops, I sense a vague presence coming more and more into focus, something in a white fog emerging and becoming increasingly palpable.” – P. Milton, “The primacy of touch. The Drawings of Peter Milton”
“Working in layers, Milton begins with drawings based on people and places, with nods to Western art history and culture. He is a master of the appropriated image, a term that may conjure Andy Warhol and his Pop Art comrades. But Milton steps further back in history, avoiding the Pop sense of cool advertising and popular culture references. Instead, a broader cultural past is tapped through historical photographs of key players, architecture, and locales, which he reinvents by hand. He adds content drawn from his life as an avid reader – always with multiple possible interpretations – thus incorporating deeper meaning in his cinematic worlds. Elements of Greek mythology, classical music, art history, and history coalesce in his images, which embrace the messiness, sorrow, and elation that is life. One is hard-pressed to imagine a more erudite, skilled, passionate, and cheeky soul."
– T. L. Johnson and A. Shafer
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Located in New Orleans, LA
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Previously Available Items
The Virgin And Child With The Cat And The Snake By Rembrandt Van Rijn
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H 20.25 in W 16.25 in D 0.75 in
Huitzilopochtli, Aztec God of War, Lithograph from "Description de L'Universe"
Located in Soquel, CA
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Temple of Baalbec, Lebanon, 2 Roman architectural engravings, Jean Marot
By Jean Marot
Located in Melbourne, Victoria
'Coupe et profil du dedans du Temple de Balbec'
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Temple of Baalbec, Lebanon, Classical Roman architectural engraving, Jean Marot
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Materials
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Located in Paonia, CO
Two hand colored engravings from the Academie de l’Espee ( full title can be translated as Academy of the Sword: wherein is demonstrated by mathematical rules on the foundation of a mysterious circle the theory and practice of the true and heretofore unknown secrets of handling arms on foot and horseback ) by Girard Thibault...
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Christ Driving the Money Changers from the Temple
Located in Fairlawn, OH
Signed in the plate lower right
A rich impression printed with some burr and plate tone in the shadows of the figures to the right
Watermark: Ash & Fletcher, Arms of Amsterdam D.c. presumed after 1650
Thought to be a slightly posthumous impression, with alterations in the plate not by Rembrandt.
Reference: Hind 126 ii/II, Bartsch 69 ii/II, New Hollstein 139 ii/IV
Before the retouching of plate and the posthumous editions by Watelet, Basan and Bernard
Note: MMA has a similar impression ii/II that compares very closely with this impression as does the Achenbach Foundation at the Fine Arts Museums of San Francisco and the Morgan Library.
The National Gallery of Art, Washington has a superior impression of ii/II (as here) with selective inking to achieve dramatic painterly effect.
According to Clifford Ackley in Rembrandt’s Journey Painter Draftsman Etcher, MFA Boston,
“Christ Driving the Money Changer from the Temple is perhaps the most physically energetic episode in Christ’s ministry. Christ’s cleaning the place of worship of those who seek to profit from religion is recounted by all four evangelists (see for example, John 2:13-16. Jesus made himself a flail of rope and wielded it vigorously to drive from the temple the moneychangers and those who sold cattle, sheep and doves for sacrificial offerings. Overturning the tables of the moneychangers, he declares that “My house shall be called the House of Prayer, but ye have made it a Den of Theives” (Luke 19:46).
The figure of Christ is one of Rembrandt’s most blatant creative borrowings. It is a reverse copy of the figure of Christ from the Albrecht Durer print...
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Old Masters 17th Century Interior Prints
Materials
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The Death of the Virgin - Original Etching by Rembrandt - 1639
Located in Roma, IT
The Death of the Virgin is an etching with drypoint tweaks on wire rod double filigree paper, realized in 1639 by Rembrandt Harmenszoon van Rijn (Leiden, 1606 - Amsterdam, 1669).
Probable specimen of III state on three (according to White & Boon), IV on four (following Biörklund-Barnard).
Signature and date on plate on the lower left corner “Rembrandt f. 1639".
The paper has a cluster watermark with symmetrical elements in the center (similar to Ash Grapes B.a.) and a second watermark written on 4 lines (perhaps identifiable with Ash Words C.a.).
Superb specimen on doubly watermarked paper: the first on four lines dating back to around 1764 and widely diffused in Normandy and Germany; the second, clustered, traced back to the second decade of the 17th century. Sheet characterized by a legible and appreciable impression for the chiaroscuro; good conditions of conservation, even though some thinning is reported, in particular along the left margin and on the lower left corner, together with small gaps visible on the back and a superficial deposit of particles.
Reference:
Gersaint 1751, p. 71, n. 97; Bartsch 99; Hind 1924, n. 161; Biörklund-Barnard 1957, n. 39, IV; New Hollstein (Dutch & Flemish), n. 173 (Rembrandt); Hinterding et al. 2000 n. 32.III; White & Boon 1969, n. 99.III.
One of the most interesting works with a religious subject by the great old master, for both the compositional freedom and the technical expertise. We do not know who the customer was; it could have been a Catholic client, but this hypothesis seems to be at least doubtful precisely because of the peculiarity with which the episode is narrated. Certainly, this artwork is linked to a precise market request, given its size - this is the second largest incision of the artist - and the commitment to such an important work.
A more detailed description of this religious event is described particularly well in the Legenda Aurea by Jacopo da Varagine, a guiding text in the Middle Ages for all the artists who wanted to portray the Death of the Virgin: an angel appeared to Mary announcing her imminent death. It is told that the Apostles, dispersed in the four corners of the world to proclaim the Gospel, were miraculously transported to Mount Zion to be near them.
Disagreeing with other exegetes, Hinterding claims that Rembrandt knew the Legenda but was inspired by it in an original way, combining two moments in a single choral scene. Indeed, the scene depicted by the artist takes place in the bedroom of the Virgin: the angel appears at the top, accompanied by the cherubs, while the Apostles gather around her bed. For this marvelous etching, in addition to the aforementioned text by the Dominican friar da Varagine, Rembrandt certainly also looked at two fundamental works (to understand the genesis of the composition): the Death of the Virgin by Albrecht Dürer, from the silographic series of the Life of the Virgin, of which he owned a specimen, perhaps bought at auction in 1638, and a stained glass window designed by Dirck Pietersz Crabeth (1501-1574), in the Oude Kerk in Amsterdam. From Crabeth, he took the figure in the foreground that is reading the Holy Scriptures, perhaps the personification of the Church, and the canopy bed that stands out at the center of the scene. The young man with long hair described on the right, perhaps San Giovanni Evangelista, is instead a quotation from the Adoration of the Magi (1513) by Lucas Van Leyden, an artist much appreciated by Rembrandt. In Rembrandt's version of Mary's farewell, there are not only the Apostles: around her there are men and women, young and old, someone, intrigued, peeks out from behind the bed or a curtain, in the background, on the right, others pray kneeling...
Category
Old Masters 17th Century Interior Prints
Materials
Etching
H 15.56 in W 12.41 in D 0.04 in
Le Peintre - Original Etching y Adriaen van Ostade - 1664 ca.
Located in Roma, IT
1664 c.a., Original Etching (Godefroy 32, XII/XII). Image Dim: cm 23.6x 17.5; Dim: cm24.6x18.6; Passepartout Dim. cm 60x39.6. Ex-Collection: P. Davidson (Lugt 654), S. Wagner (Lugt 2380). In Very Good condition, except some little and light foxing over the marginal line.
Wonderful Proof, with an interesting capture in Latin and Signature on Plate “A.V. Oftado fecit et excud.”
Adrian Van Ostade...
Category
17th Century Interior Prints
Materials
Etching
H 9.69 in W 7.33 in D 0.04 in
Antique Italian Copper Engraving - Caprarola Palace Floor Plan
Located in Houston, TX
Exquisite antique Italian copper engraving of the floor plan to the Palace of Caprarola ("Pianta del Palazzo di Caprarola"), Italy by Giacomo Rossi, 1650.
...
Category
17th Century Interior Prints
Materials
Ink, Paper
H 20 in W 16 in D 0.1 in